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FROM THE DIRECTOR 


Dear Members, 



Cover: Writing Box 
(Suzuribako) with 
Spitting Courtesan 

(detail) c. 1800. 
Japan, Edo period 
(1615-1868). 
Lacquer on wood 
with decoration 
in maki-e (gold 
dust); 25.5 x 21 cm 
(closed). Worcester 
R. Warner Collec¬ 
tion 1963.260 


I’ll start this message with a note of congratulations and 
thanks to the Womens Council of the Cleveland Museum 
of Art, which this year celebrates its 70th anniversary. 

In 1941, director William Milliken came to Gertrude 
Hornung looking for help because some of the staff were 
going to war. She and Miriam Greene came up with the 
concept of the Junior Council, which later became the 
Womens Council. The group has been a consistent, loyal 
force for volunteering, donations, and programming over 
the years—and the floral “heart” of the museum by 
creating our wonderful flower arrangements. See page 10 
for a brief article commemorating the birthday. 

The Lure of Painted Poetry is on view in the spe¬ 
cial exhibition gallery through the end of August. The 
breathtaking beauty and quality of the exhibition owe 
much to the museum’s long association with the cultures 
of Asia, in this case Japan and Korea. In the context 
of this relationship, the recent tri-fold tragedy of earth¬ 
quake, tsunami, and nuclear peril in Japan are especial¬ 
ly wrenching for us, and we urge all our visitors to keep 
those affected by the disaster in your thoughts. 

I’ll call your attention to two other exhibitions from 
our permanent collection, both of which are covered in 
this magazine. On page 4, photography curator emeri¬ 
tus Tom Hinson (retired but not really) writes about the 
show of contemporary landscape photographs on view 
in the photography galleries. To varying degrees, these 
artists present not just the landscape, but evidence of 
the human interaction with it. Next, on page 6, curator of 
African art Constantine Petridis writes about the group 
of objects from southern Africa that form the basis of his 
exhibition and catalogue The Art of Daily Life. 


One of the 20th century’s literary greats is the sub¬ 
ject of an article on page 8 by Massoud Saidpour, who 
directs performances of Samuel Beckett’s Endgame in 
May and June. This landmark play keeps audiences off 
balance with equal parts existential dread and knee¬ 
slapping humor. The show runs May 19 to June 11 at the 
Brooks Theater of the Cleveland Play House. 

Last summer and fall, the museum participated in 
a community mural program that resulted in four new 
colorful murals in Cleveland and East Cleveland; see 
Marjorie Williams’s piece on page 11 for details. 

For the past 20-plus years, June has meant Parade 
the Circle time in University Circle, and since about 
75,000 people come every year, I’m not sure I need to 
remind anyone about it. On the other hand, I’ve never 
seen it and I plan to bring my family on June 11 for what 
I have heard is an inspiring celebration of the spirit of 
University Circle and the broader community. 

And for the past two years, June has also meant 
Summer Solstice Party—a lively late-night extravaganza 
with a wide range of musical acts and a 2:00 a.m. clos¬ 
ing time on the Saturday night closest to the summer 
solstice, which this year happens to be June 25. As in 
previous years, the party covers three phases and you 
can get a ticket for one, two, or all three of them. Details 
are on page 13. See you here this summer! 


Sincerely, 



David Franklin, 
Director 


CLEVELAND ART 


Cleveland Art: The Cleveland Museum 
of Art Members Magazine 

Vol. 51 no. 3, May/June 2011 
(ISSN 1554-2254). Published bimonthly by 
the Cleveland Museum of Art, 11150 East 
Boulevard, Cleveland, Ohio 44106-1797. 
POSTMASTER: Send address changes 
to Cleveland Art: The Cleveland Museum 
of Art Members Magazine at the 
Cleveland Museum of Art, 11150 East 
Boulevard, Cleveland, Ohio 44106. 
Subscription included in membership 
fee. Periodicals postage paid at 
Cleveland, Ohio. 


Questions? Comments? 

magazine@clevelandart.org 

Magazine Staff 

Editing: Barbara J. Bradley, Gregory 
M. Donley, Kathleen Mills 

Design: Gregory M. Donley 

Photography: Howard T. Agriesti, 
David Brichford, Gregory M. Donley, 
Gary Kirchenbauer 

Digital scanning: David Brichford 





cuyahoga 

arts & culture 


Ohio Arts Council 


^ A STATE AGENCY 
THAT SUPPORTS PUBLIC 
PROGRAMS IN THE ARTS 


7A 


Mixed Sources 

Product group from well-manage 


10. SW-COC-002546 


2 May/June 2011 











One of Eight Views of the Xiao and Xiang Rivers (detail) 1788. Tani Buncho (Japanese, 1763-1840). Section of a handscroll mounted as 
hanging scroll, ink and color on paper; 29.5 x 49. cm. Andrew R. and Martha Holden Jennings Fund 1980.188.2 


ON VIEW 


The Lure of Painted Poetry: Japanese 
and Korean Art Through August 28, 
Kelvin and Eleanor Smith Foundation 
Exhibition Flail. An exhibition based on 
the museum’s extraordinary holdings 
of works from Japan and Korea that 
look to ancient Chinese texts for 
inspiration. 

Thunderstorm over the Great Plains, Near 
Cimarron, New Mexico c. 1961. Ansel 
Adams (American, 1902-1984). Gelatin 
silver print; 36 x 48 cm. Gift of Photography 
in the Fine Arts 1965.333. © 2011 The Ansel 
Adams Publishing Rights Trust 


Contemporary Landscape Photogra¬ 
phy Through August 14, photography 
galleries, east wing. Curator of photog¬ 
raphy emeritus Tom Hinson returns to 
organize an exhibition of remarkable 
landscape photographs examining the 
parallel interests of contemporary pho¬ 
tographers to record the natural beau¬ 
ty of the environment as well as the 
impact of humanity on the landscape. 

CLE OP: Cleveland Op Art Pioneers 

Through February 26, 2012, Cleveland 
gallery, east wing. Works by key figures 
in the local optical art scene during its 
formative years. 

The Art of Daily Life: Portable Objects 
from Southeast Africa Through Febru¬ 
ary 26, 2012, design gallery, east wing. 
Beautiful objects from southeast Africa 
that combine functionality and spiritual 
meaning. 

Indian Kalighat Paintings May 1- 

September 18, prints and drawings 
galleries, 1916 building, level 1. Works 
in watercolor highlighted with metallic 
paint originally created as souvenirs for 
people visiting important temple sites 
in India. From the museum collection. 


GLIMPSES OF ASIA 


Three exhibitions celebrate the muse¬ 
um’s renowned leadership in collecting 
and exhibiting Asian art. 

The Lure of Painted Poetry: Japanese 
and Korean Art Through August 28. 

Indian Kalighat Paintings May 1- 

September 18. 

Chinese Art in an Age of Revolution: 
Fu Baoshi (1904-1965) October 16, 
2011-January 8, 2012. The first retro¬ 
spective in the West dedicated to the 
artist famed for reinventing landscape 
and figure painting techniques and for 
his extensive scholarship on the history 
of Chinese painting. 



3 www.ClevelandArt.org 























Tom E. Hinson Curator of Photography Emeritus 


Views of Nature 

A new exhibition focuses its lens on contemporary landscape 
photography 



athering 43 images, many new to the museum, Contem¬ 
porary Landscape Photography highlights the complexi¬ 
ties of representing, looking at, and understanding the 
contemporary landscape. Since the 1960s photographers 
primarily have taken one of two conceptual approaches 
to landscape as subject matter. The iconic photographs 
of Ansel Adams epitomize the first. Working in the west¬ 
ern United States, Adams specialized in pristine views 
of nature—rivers, mountains, valleys, orchards, deserts, 
the sea—presenting them simply and clearly, enriched 
by his poetic vision and commitment to environmental 
conservation. The other approach seeks to both depict 
formal beauty and record the impact of human activities 
on the landscape, such as prehistoric presence, agricul¬ 
ture, natural resources removal, suburban land develop¬ 
ment, and war. Through his pioneering photographs of 
the western landscape of North America, Robert Adams 
has been a leading proponent since the early 1970s of 


Cimarron in northern New Mexico, where he visited 
the Philmont Scout Ranch, some 137,500 acres of 
wilderness in the Sangre de Cristo Mountains. From 
an elevated vantage point, he captured the striking 
forms and ethereal light of a vast, flat landscape. 
Irregular, fluffy clouds hover over the land like 
guardian figures. To this day, Adams’s photographic 
legacy inspires fine art, commercial, and amateur 
practitioners. Such pristine wilderness diminished, 
however, and by the late 1970s photographers 
emulating his style had to turn their backs on ever- 
expanding urbanization while pointing cameras 
toward open land. For example, photographer 
William Clift, who spent much of his creative life 
in New Mexico and frequently worked in national 
parks, has created personal, reflective, and quiet 
images, like Desert Form #7, New Mexico , of lyrical 
grace and formal invention. 



Untitled (#228) 

2007. © Christine 
Laptuta (Canadian, 
b. 1951). Platinum 
palladium print; 

9 x 40.9 cm. Gift of 
Friends of Photog¬ 
raphy 2010.228 


EXHIBITION 

Contemporary 

Landscape 

Photography 

Through August 
14 


images that document a landscape that was actually 
lived in. 

One of the most important and well-known photog¬ 
raphers of the 20th century, Ansel Adams is indelibly 
associated with stunning images of the unsoiled Amer¬ 
ican West, and he greatly influenced how photography 
is considered, experienced, practiced, and studied. 

His photographic approach had its roots in 19th- 
century painting and photography that portrayed the 
landscape as monumental with unlimited resources, 
powerful yet manageable. The inherent political sym¬ 
bolism spoke to nationalism, democracy, and economic 
abundance, while referencing personal self-reliance 
and spiritual renewal. 

The grand vista Thunderstorm over the Great 
Plains was made around 1961 when Adams traveled to 


More recently digital technology has enabled photog¬ 
rapher Christine Laptuta to create fictional, “idealized” 
landscapes. In Untitled (#228), Laptuta relied on memory 
and imagination to create a cinematic panorama: instead 
of taking consecutive images as in conventional panora¬ 
mas, she may turn 180 degrees for the next exposure and 
then walk 100 feet or more before taking another. Lap¬ 
tuta is attracted to fleeting light as well as deconstructed 
horizon lines. Using an inexpensive plastic camera with 
a manual winder, she was able to compose multiple im¬ 
ages without interruption, eliminating the space between 
frames. The developed film was then scanned to make a 
digital negative and this large-scale print. 

The evocative images of Robert Adams, along with 
the work of nine other emerging photographers, were dis¬ 
played in 1975 in New Topographies , a major exhibition 


4 May/June 2011 



Desert Form 
#1, New Mexico 

1984. © William 
Clift (American, b. 
1944). Gelatin silver 
print; 19.5 x 24.5 
cm. Gift of Mr. and 
Mrs. Thomas A. 
Mann 1990.110 



organized by William Jenkins of the George Eastman 
House in Rochester, New York, that featured “man- 
altered landscape.” Instead of idealizing the limitless 
wilderness, Adams simply observed what was there. 
South of Rocky Flats, Jefferson County, Colorado is an 
outstanding example of his documentary style, which 
acknowledged the environment’s formal beauty and 
enveloping western light while recording the impact of 
humanity. The grandeur of the Rocky Mountains is 
visible along with the physical infrastructure neces¬ 
sary to facilitate the annexation of this open land 
for development. 

Over the last three decades, younger photographers 
have adapted the ideas initially presented in New Topo¬ 
graphies. Since the late 1980s, Jeff Brouws has docu¬ 
mented the sociological, cultural, and historical within 
the contemporary everyday landscape. Railroad Land¬ 
scape #33 is from a recent series examining, during 
different seasons, long-abandoned railroad right-of-ways 
in Dutchess County, New York, near his home. Relying 
on topographic maps from 1909, official texts, and up- 
to-the-minute Google Earth Satellite imagery, he has 
investigated remnants of railroad tracks laid more than 
120 years ago that primarily served independent dairy¬ 
men. In 1938 the physical presence of the railroad was 
erased; however, the melting snow in this picturesque 
winter scene suggests the track on the now-abandoned 


right-of-way. Two converging lines propel the viewer’s 
attention through an open field into a dense wooded land¬ 
scape, stopped by a glowing orange sunset. The image 
documents the healing process of nature in replacing the 
vegetation originally removed to make the right-of-way. 

David Leventi also chronicles human intervention in 
what was once an isolated, scenic landscape. In the ex¬ 
pansive photograph The Transfagarasan Highway, 
Romania, he dramatically and graphically recorded 
a twisting and turning highway that sharply descends 
through a spectacular mountain valley between the two 
highest peaks in Romania, connecting the regions of 
Transylvania and Wallachia. Numerous hiking trails are 
visible in the composition’s foreground, attesting to the 
popularity of this area as a leisure destination. Built be¬ 
tween 1970 and 1974 by the Romanian government as a 
precaution against a Soviet invasion like the one mounted 
against Czechoslovakia in 1968, it assured the military 
a speedy trip through the mountains. Many regard the 
highway (featured in a 2009 episode of the popular BBC 
television show Top Gear) as “the best road in the world.” 

This compelling exhibition displays the passion of 
contemporary photographers for the natural environment. 
Some have concentrated on its formal, scenic beauty freed 
from surrounding civilization; others have scrutinized the 
built environment, which often becomes a means to ob¬ 
serve nature. Ittl= 


5 wwwGlevelandArt.org 





Constantine Petridis Curator of African Art 


The Art of Daily Life 

Domestic and personal objects from southeast Africa integrate art and 
usefulness 



THI MIQ jP D Allt Uri 



Get the Catalogue 

In the Museum 
Store 


EXHIBITION 
The Art of Daily 
Life: Portable 
Objects from 
Southeast Africa 
Through February 
26 , 2012 


elieve it or not, The Art of Daily Life is the first exhibi¬ 
tion to focus on the arts of the southernmost part of the 
African continent organized by an encyclopedic art mu¬ 
seum in this country. It presents 70 household and per¬ 
sonal objects created by artists from different cultures 
whose descendants inhabit present-day South Africa, 
Lesotho, Swaziland, Mozambique, Zimbabwe, and Bo¬ 
tswana. Consisting of loans from 22 private lenders and 
the Smithsonian Institution’s National Museum of Afri¬ 
can Art in Washington, the exhibition also introduces 
the 15 masterful works that were added to the Cleveland 
Museum of Art’s permanent collection late last year. 

Small, private, and portable, until very recently 
objects of this kind were viewed as ethnographic rather 
than artistic, echoing the false distinction between the 
categories of art and craft. That much of the art of the 
region is associated with beadwork reinforced this per¬ 
ception. Partly because such work is in the province of 
women and also because the earliest glass beads were 
imported from Europe, beadwork is still held in low es¬ 
teem among many African art amateurs. It is, however, 
of central importance to the peoples of southeast Africa. 
Glass beads made in Venice and Bohemia were intro¬ 
duced in the region by the Portuguese and the English 
from the 16th century onward, but earlier imports oc¬ 
casionally came from China, India, and the Near East. 
Because they were expensive, beads were used as cur¬ 
rency throughout the 19th century. 

The materials and size of the works included in this 
exhibition reflect the migrant culture of the cattle herd¬ 
ers who made and used them in the late 19th and early 
20th centuries. The art produced in southeast Africa 
typically related to the privacy of the home or the inti¬ 
macy of the person. Intended for daily use, the objects’ 
softened edges and shiny or even lustrous patinas reveal 
continuous handling. Traces of wear and tear also indi¬ 
cate many years of direct contact with the human body. 
However, as both the exhibition and its companion pub¬ 
lication demonstrate, the objects on display were rarely 
merely decorative or strictly utilitarian. Most objects 
from this area integrate art and usefulness while simul¬ 
taneously bridging the secular and the sacred. Also sig¬ 
naling gender, rank, or prestige, many acted as symbolic 
intermediaries between humans and spirits. Thus, a 
headrest used as a pillow to safeguard complicated hair¬ 
styles during sleep often also functioned as a medium 


6 May/June 2011 




Left to right: 

Staff Finial Prob¬ 
ably Tsonga people, 
Mozambique/South 
Africa. Wood; h. 

30 cm. Collection 
of Jane and Gerald 
Katcher, Miami 

Headrest Tsonga 
people, South 
Africa, or Shona 
people, Zimbabwe. 
Wood, glass beads, 
plant fiber; h. 12.7 
cm. National 
Museum of African 
Art, Smithsonian 
Institution, Wash¬ 
ington, D.C. 

Lidded Vessel 

Swazi people, Swa¬ 
ziland, or Northern 
Nguni or Zulu peo¬ 
ple, South Africa. 
Wood; h. 33.6 cm. 
Private collection, 
courtesy Robert 
Dowling, San 
Francisco 


TALK 

The Art of Daily 
Life Wednesday, 
May 11, 6:30. 
Gallery talk by 
Constantine 
Petridis 


Left: 

Fertility Figure 

Southern Sotho 
people, Lesotho. 
Wood, glass beads, 
sinew, metal; h. 25.4 
cm. CMA Leonard 
C. Hanna Jr. Fund 
2010.208 



through which the ancestors could be contacted. Even 
smoking tobacco or taking snuff had ancestral implica¬ 
tions. Because of its capacity to heighten awareness and 
increase sexual arousal, tobacco—introduced by Euro¬ 
peans in the 16th century—was associated with procre¬ 
ation, fertility, and access to the ancestors. 

The region of southern Africa is characterized by 
a complex history of human interrelationships resulting 
from the semi-nomadic culture of the pastoralist peoples 
who have traversed it for centuries. In southeast Africa 
cattle stood for wealth and status but also played a role 
in communicating between the living and the dead. Like 
tobacco, snuff, and headrests, cattle often were given as 
wedding presents. It is no coincidence that some head¬ 
rests and pipes carry bovine references, and some snuff 
containers are made from cattle horn. The wandering 
lifestyle of the region’s inhabitants has not only contrib¬ 
uted to the portable nature of their material culture, but 
also led to their truly regional worldview and a coherent 
artistic legacy that transcends and defies fixed “tribal” 
boundaries and attributions. Indeed, here as elsewhere 
in Africa, allegedly discrete ethnic identities such as 
Xhosa, Swazi, Sotho, or Tsonga are largely political 
constructs. We should also remember that the notions 
of “ethnicity” and its corollary “tradition” have been 
exploited and manipulated by the ideology of segregation 
that marked the apartheid regime until its abandonment 
in the early 1990s. 



Pipe Southern Nguni 
people, South Africa, 
or Southern Sotho 
people, Lesotho. 
Wood, iron; h. 37.5 cm. 
National Museum of 
African Art, Smithson¬ 
ian Institution, Wash¬ 
ington, D.C. 


Although details about the specific provenance 
of this or that object are rarely available, most of the 
works stemming from southeast Africa in European and 
American collections were acquired during the Anglo- 
Zulu War of 1879. As a result, many are misattributed 
to the Zulu people, especially the wooden objects and 
early curios that were among the favorite souvenirs sol¬ 
diers and early visitors brought back from their journeys. 
Many of the works included in The Art of Daily Life 
were made and used when much of the region was under 
British rule. Beginning in the late 18th century, British 
colonization had a lasting negative effect on the pastoral 
societies that had produced such objects. The imposed 
political regime changed the power relationship between 
rulers and their subjects, while missionaries eradicated 
local beliefs and practices. As a result, the material 
culture associated with these traditional contexts often 
changed profoundly and sometimes disappeared 
altogether. 

African art collections in the West are by definition 
limited and subjective, containing only what has been 
preserved and acquired. In this sense any exhibition 
is selective and biased as a result of both the personal 
preferences and choices of the curator and the absence 
of certain materials in collections. Nonetheless, The Art 
of Daily Life strives to contribute a change of attitude 
and perhaps even of taste in the evaluation of southeast 
Africa’s rich artistic heritage. rftl= 


Apron Southern 
Nguni people, South 
Africa. Leather, glass 
beads, sinew; h. 35.6 
cm. CMA Leonard 
C. Hanna Jr. Fund 
2010.206 



7 www.ClevelandArt.org 





Massoud Saidpour Director of Performing Arts, Music, and Film 


Beckett’s Endgame 

An aesthetic antinomy 


“I can’t go on, I’ll go on.” 

-The Unnamable, by Samuel Beckett 

T o better understand Samuel Beckett, a common mis¬ 
perception of his works —Endgame included—must be 
dismissed. Beckett was no nihilist. He did not believe life 
was meaningless. Rather he questioned meaning—or the 
socially accepted notions of it. This was his negation of 
contemporary society. To Beckett, the “meanings” that 
had led to the ashes of Auschwitz and the clouds of Hiro¬ 
shima were lunacy. 

The madness, as he put it, start¬ 
ed after Galileo at the end of the 17th 
century and the following “century of 
reason”—a term he found ironic. 
“They’re all mad, ils sont tous fous , 
ils deraisonnentl ” Reason, he argued, 
was too weak for the responsibility it 
had been given to bear; the world had 
become so complex that it was impos¬ 
sible to know everything. Beckett 
argued that the “direct relation be¬ 
tween the self and as the Italians say, 
4 lo scibile’, the knowable, was already broken.” Leonardo 
da Vinci was the last person who still had “everything in 
his head, still knew everything.” 

Thus Beckett’s plays and novels focus on man as a 
“non-know-er” and “non-can-er.” Yet, unlike a passive 
nihilist, his non-know-er/non-can-er asserts himself. 
Beckett’s “I can’t go on, I’ll go on” is a legacy of action 
that silently screams that things should be otherwise, as 
the German thinker Theodore Adorno points out. The 
human spirit—despite poverty, failure, exile, and loss— 
must assert itself. His work is as much about persisting 
and continuing as it is about ending. It is in this tension 
between “I can’t go on” and “I’ll go on” that Beckett’s 
Endgame flowers into a work of great power. 

Beckett’s antivenin to the bleakness of post-modern 
angst is humor. “Nothing is funnier than unhappiness, I 
grant you that,” says Nell to Nagg in Endgame. The wit 
thrives on verbal inversions and paradoxes. 

Clov: Do you believe in the life to come? 

Hamm: Mine was always that. [Exit Clov.] Got him 
that time! 

Nagg: Em listening. 

Hamm: Accursed progenitor! Why did you engender me? 
Nagg: I didnt know. 

Hamm: What? What didnt you know? 

Nagg: That it would be you. 

May/June 2011 


ENDGAME 

Thursday- 
Saturday, May 19- 
June 11, 7:30. 
Brooks Theatre, 
Cleveland Play 
Flouse. With Doro¬ 
thy Silver, George 
Roth, Terence 
Cranendonk, and 
Mark Seven. 
Directed by 
Massoud Saidpour. 
No late seating. 

For reservation 
information visit 
ClevelandArt.org 
or call 1-888-CMA- 
0033. 



Physical comedy goes hand in hand with verbal hu¬ 
mor. Clov’s physical actions—his shuffling and clunking 
walk—have much in common with Charlie Chaplin. His 
hilarious bit upon discovering a flea in his pants owes 
much to circus clowns and Commedia delTarte , and his 
mime at the top of the play evokes Harpo Marx. The play 
is peppered throughout with sublime comic moments. 

Beckett also drew upon the high arts of painting 
and literature. He fervently studied paintings at major 
European art museums, and even applied for a curato¬ 
rial position at the National Gallery in London. Certain 
images became etched in his mind: Rembrandt’s heads 
wonderfully illuminated against dark backgrounds, 
Caravaggio’s dramatic compositions, the grotesques of 
Hieronymus Bosch and Bruegel the Elder. His plays drew 
on these images as well as on literary traditions but they 
evoke a sense of distortion, fragmentation, isolation, and 
alienation, conveying a mood also prevalent in German 
post-Expressionist paintings. 

Endgame ingeniously blends high art and physical 
comedy into a striking theatrical experience—as if the 
Book of Genesis, Dante, Bosch, or Bruegel were played 
by Chaplin, Harpo, or Keaton. The play takes its vital 
rhythm and actions from vaudeville houses and caba¬ 
rets while drawing its powerful visual compositions and 
textual depth from painting and literature. The result is 
Beckett’s “aesthetic antinomy.” 

Endgame demands alertness, patience, and intel¬ 
ligence. Through laughter and precise metaphor, Beckett 
intensely probes the human condition, and in only 90 
minutes gives us a true fable of man alive in it: deeply 
sorrowful, very funny. Ittl = 

Samuel Barclay Beckett (1906-1989) was bom into a pros¬ 
perous Irish Protestant family and had a happy upbringing. 

Fie played cricket for Trinity College Dublin, then, in Paris in 
the late 1920s, became an assistant, friend, and literary con¬ 
fidant of James Joyce. In 1939, he left Ireland and settled in 
Paris, preferring—in his words—“France at war to Ireland at 
peace.” Fie joined the French resistance after the German inva¬ 
sion in 1940. Beckett received the Croix de Guerre in 1945, 
and the Nobel Prize for literature in 1969. His best known 
work is the play Waiting for Godot (1953); asked which he 
favored most, he responded, “I suppose the one I least dis¬ 
like is Endgame.” Endgame is a portrayal of Hamm—a blind, 
chair-bound tyrant—and Clov, his forgetful, fumbling servant/ 
son. They coexist in the aftermath of a calamity in a mutually 
dependent and fractious relationship. In the room are Hamm’s 
ancient parents, Nell and Nagg, who tragicomically live in 
trashcans and occasionally pop out to chat or demand food. 




ON THE ROAD 






O 

O 


See works from Cleveland’s collection 
in exhibitions around the world 

American Impressionists in the Garden, 
Taft Museum of Art, Cincinnati, through 
May 15, features Edith Parsons’s Turtle 
Baby. 

Against the Grain: Modernism in the 
Midwest , Southern Ohio Museum, 
Portsmouth, through May 29. Paintings 
include William Sommer’s The Pool 
and Manierre Dawson’s Differential 
Complex. 

Gauguin: Maker of Myth, National Gal¬ 
lery of Art, Washington, D.C., through 
May 30. Paul Gauguin’s In the Waves 
makes a splash in the nation’s capital. 

Man, Myth, and Sensual Pleasures: Jan 
Gossaert’s Renaissance, National Gal¬ 
lery of Art, London, through May 30. 
The CMA’s Jan Gossaert painting 
Virgin and Child is on view. 


Echoes of the Past: The Buddhist Cave 
Temples at Xiangtangshan, Freer 
Gallery of Art and Arthur M. Sackler 
Gallery, Smithsonian Institution, Wash¬ 
ington, D.C., through July 31. Includes 
two works from the museum’s Chinese 
collection. 

Monet’s Water Lilies, Nelson-Atkins 
Museum of Art, Kansas City, through 
August 7, then Saint Louis Museum of 
Art, September 2011-January 2012. Our 
Water Lilies (Agapanthus) is reunited 
with its two counterparts. 

The Andean Tunic, Metropolitan Mu¬ 
seum of Art, through September 18. 
Two stunning works from Cleveland’s 
collection enliven the Met’s exhibition. 


Exhibition Organized by the Cleveland 
Museum of Art 

Treasures of Heaven: Saints, Relics, and 
Devotion in Medieval Europe travels to 
the Walters Art Museum, Baltimore, 
through May 15, and the British 
Museum, London, June 23-October 9. 


PERSONAL FAVORITE 



Monkey Aryballos 

c. 580 be. Greece. 
Earthenware with 
slip decoration; 
h. 9 cm. 75th an¬ 
niversary gift of Dr. 
Leo Mildenberg in 
honor of Arielle P. 
Kozloff 



1991.50 


Sam Bell, The Lusty Wrench Auto 
Repair, Cleveland Heights This mon¬ 
key-shaped perfume flask is one of 
my favorite things in the museum. It 
makes me laugh. There’s such joy. I’m 
an alumnus of St. John’s College, the 
“Great Books” school, so I studied clas¬ 
sical Greek, read Plato, Aristotle, Eurip¬ 
ides, Homer, and so on. I spent some 
time in Greece 40 years ago, occasion¬ 
ally volunteering with the excavation of 
the Agora in Athens. You would never 
find anything like this—just these tiny, 
tiny shards and then somebody else 
would try to figure out what they were. 

I love that this piece is from roughly 
that same period. 

www.ClevelandArt.org 


The Greek word arete translates 
as excellence or virtue—it’s not an 
achievement, but an ongoing pursuit, a 
way of life. That’s one of the things you 
see everywhere as you look around this 
museum, even in a tiny piece like this. 

I’m a space brat. My dad was a rock¬ 
et scientist and we came to Cleveland 
in 1963 so he could work for NASA. I 
first came to the museum when we 
stayed briefly at the Fenway Motor 
Inn on University Circle. I used to cut 
classes from Heights High School and 
come down to the art museum on the 
theory that I would learn more here 
than I would in a classroom. 

Cleveland is a great city and one of 
the greatest things about it is we have 
such wonderful cultural institutions. 

My children grew up in this museum, 
visiting probably two or three times 
a month for 15 years. It’s been really 
important for our family, first for our 
children and now our grandchildren. 

When I talk to people from out of 
town or who are new to the area, this 
amazing art museum and the best or¬ 
chestra in the world are what I tout to 
them as the things that really separate 
us from other places. 



Goatlegs 2007. Stacey Davidson (American, 
born 1961). Gouache. Andrew R. and Martha 
Holden Jennings Fund 2007.199 


NEW IN THE GALLERIES 


Two recent portraits on paper are on 
view in the contemporary galleries. 
Goatlegs is a 2007 gouache by Stacey 
Davidson, who describes herself as “a 
painter who makes dolls.” She creates 
intricate handmade dolls from clay, 
leather, and cloth, then makes eerie 
paintings of the dolls as subjects. 

For Storm Tharp, portraiture is an op¬ 
portunity to tap into his own memo¬ 
ries and fantasies. His artistic process 
combines the accidental with the 
intentional; the figure in Groton House 
(2010) was initiated with a few strokes 
of mineral ink that bled unpredictably 
on a damp sheet of paper, creating 
indistinct violet passages suggestive 
of pooling liquid visible in the figure’s 
hair. Tharp then manipulated the im¬ 
age, adding a hyperrealist drawing of 
a woman shrouded by networks of fine 
pencil lines and painted in ink with a 
wide brush. 

Also on view in this group of portraits 
are works from private collections 
including Study for Bent Lady (2003), 
conte crayon on paper by John Currin; 
and Double-Self Portrait (2007), water- 
color on paper by Yan Pei-Ming. 
























Womens Council Board and other contributors 


j 


Seven Invaluable Decades 

The Womens Council marks its 70th anniversary of service 



o 

o 


Posing with the 
Plaque Marianne 
Bernadotte and 
Kate Stenson of the 
Womens Council 
flank director David 
Franklin inside the 
south entrance. 

I 


10 



n 1941, museum director William Milliken asked 
Gertrude Hornung to find volunteers to help fill the void 
left by loss of staff to the war effort. With the collabora¬ 
tion of Miriam Greene, Hornung brought together young, 
energetic, educated women to form the Junior Council, 
as the CM A Womens Council was originally known. At 
the end of 1941, Milliken was quoted in the Plain Deal¬ 
er: “[T]he co-operation of the Junior Council already 
has had invaluable results, and . . . the formation of the 
group has been one of the most constructive acts of the 
museum’s silver jubilee year.” 

Growing from 25 charter members to more than 600 
today, the Womens Council celebrates its 70th anniver¬ 
sary in May 2011. Outreach, education, hospitality, and 
fundraising were initial focuses of the group. In addition 
to supporting classes and programs within the museum, 
the council developed a Speakers Bureau and radio 
programs. After staff returned from the war, fundrais¬ 
ing became a more prominent activity, and in 1955 the 
council held a Mid-European Street Fair to benefit the 
museum’s Building and Endowment Fund. 

The council’s second decade began a tradition of 
donating works of art that continued until the cost of 
purchasing objects became prohibitive. Profits from the 
ongoing lecture series funded future activities and pro¬ 
gramming. In addition to gifts of art, to date the Womens 
Council has donated more than $2 million to the museum. 

May/June 2011 


From 1941 to 2011, the Womens 
Council has nurtured an ever-evolv¬ 
ing and expanding list of services 
and activities while maintaining its 
loyal members’ enthusiasm, care, and 
professionalism. Traditional projects 
that continue to this day are staffing 
of the information desk, advocacy for 
funding of the arts in Ohio, and beau¬ 
tification of the museum through the 
Flower Fund established in 1989. In 
addition to bringing notable lecturers 
to the museum, the Womens Council 
created Circle Neighbors, programs 
related to topics of importance to 
University Circle and the Cleveland 
community. The council supports 
Parade the Circle through funding 
and participation, acting as Present¬ 
ing Sponsor for the 20th parade in 2009. Initiatives such 
as Museum Ambassadors and New Audiences reach out 
to local high school and university students in meaningful 
ways, helping to guarantee an interest in art and culture 
among the region’s youth. Members enjoy monthly meet¬ 
ings, special art lectures at the museum and other venues, 
and planned trips both near and far for enrichment and 
camaraderie. 

As a symbol of the generations of Womens Council 
members whose 70 years of involvement and philan¬ 
thropy have helped to sustain the Cleveland Museum of 
Art, the south entrance of the 1916 building bears the 
council’s name. Both visibly and behind the scenes, the 
council moves forward with the museum. Ittl= 

When They 
Had This Street 
Fair There Was 
a Street There 

The 1955 Mid- 
European Street 
Fair, sponsored by 
the Junior Council, 
raised money for 
the Building Fund. 
(Cleveland Museum 
of Art archives) 


























Marjorie Williams Senior Director of Endowment Development 


Hope and Renewal 

As part of a museum initiative, painted murals enliven four 
neighboring communities 


N eil Hamilton, the Cleveland artist who created a free¬ 
standing mural for Quincy Park in the city’s Fairfax 
community, says, “Gardens are symbols of rebirth. 

I took the subject for my mural from the numerous 
gardens you see in Fairfax. They are symbolic of the 
strength and renaissance of this community.” 

Last summer the Cleveland Museum of Art 
launched an engagement plan called Community of 
Relationships in four surrounding neighborhoods: Fair¬ 
fax, Hough, Glenville, and East Cleveland. Funded by 
the Cleveland Foundation, the initiative featured activi¬ 
ties in support of Parade the Circle and the Chalk Fes¬ 
tival. Artists from Burkina Faso traveled to Cleveland to 
work in approximately 100 parade outreach workshops 
at sites within a one-mile radius of the museum. A few 
months later, Cleveland mural artists Neil Hamilton, 
Anna Arnold, Ed Parker, and Jerome White created pre¬ 
liminary drawings at the September Chalk Festival and 
then over subsequent weeks painted large-scale murals. 

The museum worked with Fairfax Development 
Center, the cities of East Cleveland and Cleveland, and 
Glenville Development Center to choose mural locations 
in community centers and garden settings. The artists 
met with community members to develop themes. 

Hamilton’s mural describes the lushness of a fu¬ 
turistic garden from the viewpoint of a family walking 
toward the light-filled landscape. The tropical garden 
invites and enlivens the senses with a waterfall, vibrant¬ 
ly colored butterflies, flowers, and a hummingbird. The 
figure of a shaman watches over the paradise. Installed 
in the center of Quincy Place (8111 Quincy Avenue), it 
will serve as a setting for community celebrations and 
picnics, encouraging gatherings essential to the emo¬ 
tional bond between neighbors and friends. 

Similarly, Anna Arnold’s boldly colored mural tells 
a story of family and community through images of the 
storyteller of Hough. Arnold drew inspiration from her 
own family’s journey to a new city and community. Her 
grandmother served as a symbol of history and wisdom 
to direct family members in decisions about their lives. 
In Arnold’s mural, an older woman with raised hand 
talks with community youth and families about the ex¬ 
periences and values that provide hope and endurance 
for the future. She painted her mural in the art room 
at Thurgood Marshall Recreation Center (8611 Hough 
Avenue) in Hough with help from neighborhood youths. 


Bound for Glory , by Jerome White, is the backdrop 
for a new Glenville park planned at the corner of Supe¬ 
rior Avenue and East 107th Street. It features an African 
American youth traveling the Underground Railroad and 
bound for glory to Ottawa, Canada. As destinations for 
slaves fleeing the South, cities had code names. Cleve¬ 
land’s code name was “hope,” while the city of “glory” 
or “freedom” was Ottawa, located beyond the United 
States’s northern border. The past guides our communi¬ 
ties through the present and into the future. 

The fourth mural takes its theme from the name 
of the community center it adorns: Martin Luther King 
Civic Center in East Cleveland (14801 Shaw Avenue). 
Artist and East Cleveland resident Ed Parker provides a 
panorama of Martin Luther King Jr.’s life journey—from 
youth to his iconic “I Have a Dream” speech to winning 
the Nobel Peace Prize. The mural also depicts other 
seminal heroes in the pursuit of freedom: Rosa Parks, 



Bound for Glory Jerome White’s Glenville mural is inspired by the 
stories of slaves making their way north toward Ottawa via the 
Underground Railroad. 


Gandhi, Nelson Mandela, and Cleveland’s Reverend 
Dr. Otis Moss. At the end, the dream continues with the 
presence of President Obama, the first African Ameri¬ 
can U.S. president. Silhouettes of families, emblematic 
of community unity, border the mural. 

All four murals, with their visual beauty and up¬ 
lifting messages of renewal brightening their neigh¬ 
borhoods, exemplify the potential of the museum’s 
deepening relationships with these communities. (ftl= 


11 


www.ClevelandArt.org 


A TRIP TO SOUTH AFRICA 



In February 2010,1 was in Trinidad 
and Tobago working with carnival 
artists to create costumes for Parade 
the Circle when Stephane Meppiel 
introduced himself. Affiliated with 
Les Grandes Personnes of Aubervil- 
liers, France, he was on his way home 
from Surinam. As we shared images 
of our giant puppets, I learned of 
Les Grandes Personnes’ connection 
to artists in both Burkina Faso and 
South Africa. 

When I began preparing for my trip 
to South Africa in search of artists for 
Parade 2011, Les Grandes Personnes 
became my guide. Last October I 
met three artists from Johannesburg 
townships who had each played 
pivotal roles in The Giant Match. This 
international artistic collaboration 
timed to coincide with the World 
Cup created an African Romeo and 
Juliet with a soccer twist brought to 
life by 30 giant puppets. 


Then in February 2011 Les Grandes 
Personnes artists were back in Burkina 
Faso where Abdoulaye Ouedraogo, 
one of our Burkinabe guest artists from 
2010, met their team. 

Now as we prepare for our 22nd parade 
we are ready to welcome our most 
international collaboration yet: six art¬ 
ists—three South African, two French, 
and one Burkinabe—combine talents 
in celebration of our new exhibition 
The Art of Daily Life. These six artists 
will spend the three weeks prior to the 
parade at outreach sites throughout 
Greater Cleveland demonstrating their 
techniques and leading performance 
rehearsals. They will also be in residence 
at our CMA workshop tent, constructing 
three giant puppets to join the throng 
of Cleveland creations. 

We invite you to stop by during work¬ 
shops any weekend beginning May 20 
and see them at work. 

-Robin VanLear 



PARADE THE CIRCLE JUNE 11 



Questions? Call 
Community Arts at 
216-707-2483 
or e-mail 
comrmartsinfo@ 
clevelandart.org. 

Free Lecture: New 
England Parades 
1840-1940 

Wednesday, June 
8, 7:00, Jane C. 
Nylander (see p. 18) 


direction and traveling the same 
streets as in previous years. 
The museum presents the 
parade. University Circle 
Inc. presents Circle Village, 
activities, entertainment, 
and food on Wade Oval 
from 11:00 to 4:00. For in¬ 
formation on Circle Village 
call UCI at 216-707-5033. 

Join the parade for $6/ 
person. No written words, 
logos, motorized vehicles 
(except wheelchairs), or live ani¬ 
mals are allowed. To be listed in 


Parade at noon Cleveland’s unique 
community arts event is Saturday, 
June 11. This year’s parade theme is 
Voices among Voices. Three contem¬ 
porary artists from The Giant Match, 
Johannesburg, South Africa, will work 
in tandem with two artists from the 
parent company Les Grandes Per¬ 
sonnes, of Aubervilliers, France, as 
they join Greater Cleveland artists, 
families, schools, and community 
groups for the 22nd annual parade. 
This year’s parade route will begin 
and end at the Cleveland Museum of 
Art, moving in a counterclockwise 


the printed program, register by Sun¬ 
day, May 22. For parade wristbands 
and privileges, register by Tuesday, 
June 7. Register for all workshops or 
for the parade during any listed work¬ 
shop. 

Basic Parade Workshops Fridays 
6:00-9:00, Saturdays 1:30-4:30, and 
Sundays 1:30-4:30 beginning May 6 
and continuing until the parade. Art¬ 
ists help you make masks, costumes, 
and giant puppets for your parade 
entry. Workshops are held at the 
museum. A workshop pass (individu¬ 
als $50; families $150 up to 4 people, 
$25 each additional person) covers all 
basic workshops and includes parade 
registration. Open to all ages; children 
under 15 must register and attend with 
someone older. Group rates available. 

Special Parade Workshops in Stilt¬ 
dancing A free drop-in Stilt Weekend 
is open to all on Saturday and Sunday, 
May 14 and 15,1:30 to 4:30. Canadian 
stilters Brad Harley and Rick Simon 
give everyone an opportunity to try 
walking on stilts. Workshop pass- 
holders will be given priority and 
children must be at least 10 years old. 

Cleveland 

^/oundation 


Pass-holders without stilts may order 
them only during the stilt weekend; 
$60 (discounts for recycling your 
gently used stilts; some recycled stilts 
available at reduced cost). Participants 
may keep stilts after safety training. 
Learn stilt safety, tying, and the art 
of dancing on stilts at special Stilt¬ 
dancing for Paraders workshops on 
Saturdays, May 21-June 4,1:30-4:30 
(novice) and Sundays, May 22-June 5, 
1:30-4:30 (advanced); free with work¬ 
shop pass. 

Musicians Wanted Calling all musi¬ 
cians to join the parade, professionals 
or weekend amateurs. Parade with 
your own group or join our new Com¬ 
munity Band. For more information 
see www.clevelandart.org or contact 
Community Arts. 

Volunteers Lots of volunteers are 
needed. Help at workshop sessions, 
distribute posters and flyers, or fill one 
of the dozens of parade day jobs. Call 
the volunteer office at 216-707-2593 
for more information. 

Parade the Circle is presented through the generous 
support of the Cleveland Foundation. It is sponsored 
by Glidden, an AkzoNobel brand and KeyBank. 

KeyBank 

O-TT 



An AkzoNobel brand 
















AROUND TOWN 


CIRCLE SAMPLER CAMP 


Art Crew Characters based on objects 
in the museum’s permanent collection 
give the CMA a touchable presence 
and vitality in the community. $50 
nonrefundable booking fee and $50/ 
hour with a two-hour minimum for 
each character and handler. Contact 
Gail Trembly at 216-707-2487 or 
commartsinfo@clevelandart.org. 

Nia Coffee House 6:00-8:30, every 
first and third Tuesday at the Coven¬ 
try Village Library, 1925 Coventry Rd., 
Cleveland Heights, 44118. Live jazz, 
poetry, and open mic. This program is 
intended for adult patrons. 




OUTLAST 
THE SUN! 




Transforming Tomorrow This one- 
week, all-day camp is hosted by the 
Cleveland Museum of Natural History 
from 9:00 to 5:00, Monday through 
Friday. Students visit two different cul¬ 
tural institutions each day. Participat¬ 
ing institutions include the Cleveland 
Museum of Art, Cleveland Museum of 
Natural History, Museum of Contempo¬ 
rary Art Cleveland, Cleveland Botani¬ 
cal Garden, Cleveland Institute of Art, 
Roots of American Music, Cleveland 
Play House, Western Reserve Historical 
Society, and Nature Center at Shaker 
Lakes. 

Grades 1-3 Session I: June 13-17; ses¬ 
sion II: June 20-24; session III: June 
27-July 1 

Grades 4-6 Session IV: July 11-15; ses¬ 
sion V: July 18-22 

Register at www.cmnh.org/site 
ClassesandPrograms/SummerCamps, 
216-231-4600, ext. 3214 for informa¬ 
tion. $230 per session for general pub¬ 
lic, $208 per session for members of 
any participating institution. 


SUMMER SOLSTICE PARTY! 

Saturday, June 25, 6:00 p.m. to Sunday, 
June 26, 2:00 a.m. In each of the last 
two years, at least 4,000 people 
attended the museum’s Summer Sol¬ 
stice Party! Once again, we welcome 
the longest day of this year with an 
all-night party celebrating the cre¬ 
ative spirit. Jazz and soul, African and 
electronica, and many other rhythms 
will fill the air, shifting throw^rout the 
-everrfngasThe atmosphere evolves. 
Mediterranean-inspired appetizers, 
beverages, and a few surprises will 
make this a night to remember. You 
.won’t want-te-i^issthe party of the 


Circle Neighbors Wednesday, May 11, 
10:00 coffee and 10:30 program, CMA 
Recital Hall. Immigration and Why It 
Matters to University Circle. Explore 
the importance of immigration to our 
unique community. Chris Ronayne, 
president of University Circle Inc., intro¬ 
duces co-authors of Immigration, Inc.: 
Why Immigrant Entrepreneurs Are Driv¬ 
ing the New Economy (and how they 
will save the American worker): Richard 
T. Herman, principal and founder of 
Richard T. Herman & Associates, LLC, 
and Robert L. Smith, Plain Dealer de¬ 
mographics reporter. Herman, a nation¬ 
ally renowned immigration lawyer and 
commentator, will present followed by 
Q&A with Herman and Smith. Reserva¬ 
tions: 216-707-2527 or visit WCCMA.net 
and click the RSVP button. The pro¬ 
gram will be simulcast in CMA Lecture 
Hall to accommodate any overflow. 

Circle Neighbors is a free lecture series sponsored 
by the Womens Council of the Cleveland Museum 
of Art in collaboration with the Cleveland Botanical 
Garden, the Cleveland Museum of Natural History, 
The Women’s Committee of The Cleveland 
Orchestra, and the Western Reserve Historical 
Society. 


Eventide: 6:00 p.m. admission 

Experience the party from its be¬ 
ginning and enjoy open bars. $175, 
museum members $125, Circles 
members free. 

Twilight: 7:30 p.m. admission 

Join us a little later in the evening, 
but keep the party gcmg-alf-night 
long. $60, museum members $40, 
members at Fellow level or higher 
free. 

Solstice: 10:00 p.m. admission 

Welcome in the summer solstice 
with us and close down the party at 
2:00 a.m. $15 all tickets in advance, 
$20 at the door. 

Tickets on sale May 9. 



13 www.ClevelandArt.org 







on 

O 

on 

CL 


ITALIAN MASTERWORKS SERIES 


Ton Koopman Masterclass with the 
Case/CIM Baroque Orchestra Friday, 
April 29, 4:00, Gartner Auditorium. 

Free for spectators. 

Concert #1: Orchestral and Large 
Chamber Works Sunday, May 1,2:00; 
pre-concert talk by C. Griffith Mann, 
12:30. 

Concert #2: Orchestral and Large 
Chamber Works Wednesday, May 4, 
7:30; pre-concert talk by David Frank¬ 
lin, 6:00. 

Concert #3: Small Chamber Works 

Friday, May 6, 7:30; pre-concert talk 
by Jon Seydl & James Feddeck, 6:00. 

This short series of concerts is ground¬ 
breaking in a number of respects, not 
least of which is that the Cleveland 
Orchestra performs on the Gartner 
Auditorium stage for the first time ever 
as part of the VIVA! & Gala Performing 
Arts series. The opportunity to hear 
one of the world’s great orchestras 



The Vision of St. Jerome c. 1660. Giovanni 
Battista Langetti (Italian, 1635-1676). Oil on 
canvas; 238 x 187 cm. Delia E. Holden and 
L. E. Holden Funds 1951.334 



performing a range of Italian music 
spanning the 17th to 20th centuries, 
including gorgeous repertoire that is 
rarely performed, offers another lens 
through which to view aspects of the 
museum’s collection. These concerts, 
featuring works by Corelli, Tartini, 
Scelsi, Torelli, Respighi, Scodanibbio, 
Berio, Dallapiccola, and others, is com¬ 
plemented with talks by director David 
Franklin, chief curator C. Griffith Mann, 
and curator Jon Seydl in conversation 
with conductor James Feddeck. $20 
per concert or $50 for all three; CMA 
members $18 per concert or $48 for all 
three. For additional information about 
specific programs, “Italian Master- 
works” docent tours, and more online 
resources, visit ClevelandArt.org. 


SPECIAL EVENT 


VIVA & GALA SEASON FINALE 



Michelle DeYoung, mezzo-soprano 
with Kevin Murphy, piano Wednes¬ 
day, May 18, 7:30, Gartner Auditorium. 
Three-time Grammy Award-winner 
Michelle DeYoung appears in recital 
with pianist Kevin Murphy in a pro¬ 
gram of works by Berlioz, Debussy, 
Brahms, Purcell, Mahler, and African 
American spirituals (program subject 
to change). Co-presented by the Art 
Song Festival at Baldwin-Wallace 
College and the Cleveland Museum of 
Art. $25, CMA members $20, students 
$10 in advance or Pay What You Can 
at the door. 


Endgame: A Play by Samuel Beckett 

Thursdays, Fridays, and Saturdays, 
May 19-June 11, 7:30, Cleveland Play 
House, Brooks Theatre. “A magnifi¬ 
cent theatrical experience” -London 
Times. Nobel Laureate playwright 
Samuel Beckett shunned publicity 
throughout his life, only to become 
a worldwide cultural phenomenon. 

In Endgame —widely regarded as his 
masterpiece—high literature meets 
physical comedy, or the Book of 
Genesis and Dante meet Chaplin and 
Keaton. The result is a stupendous 
theater experience: very funny and 
deeply sorrowful. In only 90 minutes, 
Beckett thoroughly probes the hu¬ 
man condition. Featuring Terence 
Cranendonk, Mark McClenathan, 
George Roth, and Dorothy Silver. 
Directed by Massoud Saidpour. Gen¬ 
eral admission $29, CMA members 
$27. See page 8 for an article by 
Massoud Saidpour about the play 
and playwright, and see page 16 for a 
screening of a film of Beckett’s Wait¬ 
ing for Godot. Due to the nature of 
the performance, no late seating. 



14 May/June 2011 



















00 

O 


O 

~D 


00 


Registration for all 

studios is on a first- 
come, first-served 
basis. Register in 
person or call the 
box office at 216- 
421-7350. 

$10 late fee per or¬ 
der beginning one 
week before the 
class starts (adult 
studios excepted). 

Cancellation 
policy Classes with 
insufficient regis¬ 
tration will be com¬ 
bined or canceled 
three days before 
class begins, with 
enrollees notified 
and fully refunded. 
Refunds are issued 
anytime before the 
beginning of the 
session. After the 
first class, con¬ 
sideration will be 
given to refunds on 
an individual basis. 

15 


ADULT STUDIOS 


Learn from artists in informal studios 
with individual attention. 

Ikebana Workshop Saturday, May 21, 
10:00-4:00 (lunch is on your own). 
Learn this traditional Japanese art of 
flower arranging that draws empha¬ 
sis toward shape, line, and form. Isa 
Ranganathan, instructor. $85, CMA 
members $70. Supply list at box office. 
Students share the cost of flowers. 

Introduction to Drawing 8 Wednes¬ 
days, June 15-August 3,12:30-3:00. 
Enjoy yourself while learning simple 
yet effective techniques in drawing 
with graphite and conte crayon on 
paper. Informal confidence building. 
Bring your own or CMA provides all 
supplies. Kate Hoffmeyer, instructor. 
$180, CMA members $144. 

Drawing in the Galleries 7 Wednes¬ 
days, June 15-July 27,10:00-12:30 or 
6:00-8:30. All skill levels welcome. 
Students use the masterworks in the 
galleries as inspiration. Evenings open 


to high school students working on 
college entrance portfolios. Susan 
Gray Be, instructor. $158, CMA mem¬ 
bers $126. 

Composition in Oil 7 Fridays, June 
17-July 29,10:00-12:30 or 6:00-8:30. 
Beginner, intermediate, or advanced 
students continue their explorations 
using the live model and still-life ob¬ 
jects as inspiration. Evenings open to 
high school students working on col¬ 
lege entrance portfolios. Susan Gray 
Be, instructor. $178, CMA members 
$146 (prices include $20 model fee). 
Bring your own supplies or for addi¬ 
tional $70 CMA will provide. 

Beginning Watercolor 8 Wednes¬ 
days, June 29-August 17,10:00-12:30. 
Geared to the beginner; all levels wel¬ 
come. Learn to mix color, apply paint, 
and choose subject matter. Paper 
provided. Materials list at first session. 
Darius Steward, instructor. $180, CMA 
members $144. 


SUMMER ART CLASSES FOR CHILDREN AND TEENS 


Museum members have priority regis¬ 
tration starting May 1. Non-members 
may register beginning May 16. 

My Very First Art Class 4 Fridays, July 
8-29,10:00-10:45 (ages VA to 2A)\ 
11:15-12:00 (siblings, ages 2-5). Young 
children and their favorite grown-up 
are introduced to art, the museum, 
and verbal and visual literacy in this 
program that combines art-making, 
storytelling, movement, and play. 
Summer topics include Mobiles , Color ; 
Sorting/Matching, Summer. Fees for 
one adult and one child $65, CMA 
Family-level members $55. Limit 10 
adult/child pairs. 

Save the dates for summer fun! 

4 Saturdays, July 9-July 30 or 10 
weekdays, Tuesdays/Thursdays, June 
28-July 28. Mornings 10:00-11:30 or 
afternoons 1:00-2:30. 

Your child can discover the wonders 
of the CMA collection and unearth his 
or her creativity in the process. Each 
class will visit our galleries each week 
and then experiment with different 
techniques based on the masterpieces 
they’ve discovered. They will learn by 
looking, discussing, and creating. 


Art for Parent and Child (age 3) 
Mornings only Four hands are better 
than two! Parents and children learn 
together to create all kinds of art in¬ 
spired by gallery visits. Limit 12 pairs. 

Mini-Masters: Color (ages 4-5) Ex¬ 
ploration and discovery are encour¬ 
aged as younger students learn about 
color and art works to make their own 
colorful renditions. 

Goin’ Mobile (ages 5-6) What we 
can see from boats, planes, cars, and 
trains will be a vehicle for creativity. 
Come and join our creative art 
journey! 

Summer Breeze (ages 6-8) Paint, 
draw, and construct with the energy 
of summer in kinetic forms from wav¬ 
ing flags to things on the wing. 

Nature Study (ages 8-10) Young 
artists recreate the beauty and the 
unusual in nature with pastel sketches, 
paintings in tempera and watercolor, 
and other media. 

Construction Zone (ages 10-12) Stu¬ 
dents create three-dimensional proj¬ 
ects using design, construction, and 
assembling techniques. 


www.ClevelandArt.org 


All-Day Chinese Painting Workshops 
for Beginners 2 Fridays, July 8 and 
15,10:00-4:00 (lunch is on your own). 
Mitzi Lai, instructor. Both sessions 
$160, CMA members $130. Part 1 only, 
$85, CMA members $70. Supply list at 
the box office. 

July 8: “4 Gentlemen,” Part I Learn 
the philosophy behind Chinese paint¬ 
ing and how to paint bamboo and 
plum blossom, two of the “four gen¬ 
tlemen.” 

July 15: “4 Gentlemen,” Part II Learn 
how to paint orchid and chrysanthe¬ 
mum, two of the “four gentlemen.” 
(Part 1 prerequisite.) 

Registration in person or at the box 
office. For more information e-mail 
adultstudios@clevelandart.org or call 
216-707-2487. 


Teen Drawing Workshop (ages 13-17) 
Saturday afternoons only Teens 
sharpen their observational skills while 
developing drawing skills with ink, 
pencil, charcoal, and pastels. 

Claymation (ages 11 and up) Saturday 
mornings only Design simple sets and 
learn how to create characters from 
armatures and polymer clay. Then use 
still cameras with our editing equip¬ 
ment to produce stop-motion anima¬ 
tion shorts. Limit 10. 

Special Class! Printmaking (ages 12- 
17) Tuesday and Thursday afternoons 
only Create one-of-a-kind monotypes, 
linoleum cut prints, and even silk- 
screened images suitable for printing 
on T-shirts. Study various types of 
prints in our collection and learn how 
to print with and without a press. 

4 Saturdays Fees Most classes $48 
general public, $40 CMA Family 
members. Art for Parent and Child 
$60/$48. Claymation $125/$100. 

10 Weekdays, Tuesdays and Thurs¬ 
days Fees Most classes $120 general 
public, $100 CMA Family members. 

Art for Parent and Child $150/$120. 









STIEG LARSSON’S MILLENNIUM TRILOGY: THE MINISERIES 


7 

• 

■f 



m 

*' p ii i 

4* 



I 


May 1-18 

This Swedish TV miniseries is a re- 
edited (and longer, by two hours) ver¬ 
sion of the recent hit films The Girl with 
the Dragon Tattoo, The Girl Who Played 
with Fire, and The Girl Who Kicked the 
Hornets Nest. Based on three best¬ 
selling mystery novels by the late Stieg 
Larsson, the six-part, nine-hour Millen¬ 
nium Trilogy follows the crime-solving 
exploits of Mikael Blomkvist (Michael 
Nyqvist), a disgraced investigative 
journalist and publisher of the maga¬ 
zine Millennium, and Lisbeth Salander 
(Noomi Rapace), a pierced, tattooed, 
angry young woman who is also a 



brilliant computer hacker. Together 
they unlock a Pandora’s box of sexual 
violence against women. No one under 
18 will be admitted! (Sweden/Denmark, 
2009/2010, subtitles). Each program 
$10; CMA members, seniors 65 & over, 
and students $8; or one CMA Film 
Series voucher. 

Parts 1 & 2: The Girl with the Dragon 
Tattoo Sunday, May 1,1:30 and 
Wednesday, May 4, 5:30. Directed by 
Niels Arden Oplev. A man in a powerful 
but dysfunctional family hires Blom¬ 
kvist and Salander to investigate the 
mysterious disappearance of his be¬ 
loved niece 40 years ago. (184 min.) 



Parts 3 & 4: The Girl Who Played with 
Fire Wednesday, May 11, 5:30. Directed 
by Daniel Alfredson. When Salander 
is accused of murdering two journal¬ 
ists investigating Sweden’s illicit sex 
trade, Blomkvist races to the rescue. 
(185 min.) 

Parts 5 & 6: The Girl Who Kicked the 
Hornet’s Nest Wednesday, May 18, 
5:30. Directed by Daniel Alfredson. 
Salander fights for her life so that she 
can not only clear her name of as¬ 
sorted criminal accusations but also 
bring the real perpetrators to justice. 
(184 min.) 


CLASSICS AND PREMIERES 


Unless noted, all show in the Morley 
Lecture Hall and admission to each 
program is $9; CMA members, seniors 
65 & over, and students $7; or one CMA 
Film Series voucher. Vouchers, in books 
of 10, can be purchased at the ticket 
center for $70, CMA members $60. 

Peter Hiscocks in Person! 

Burma VJ Friday, May 6, 6:30. Di¬ 
rected by Anders 0stergaard. Oscar- 
nominated documentary feature! The 
2007 uprising in Myanmar, in which 
100,000 people (including thousands 
of Buddhist monks) took to the streets 
to protest the country’s repressive 
regime, is seen via video footage shot 
surreptitiously by Democratic Voice 
of Burma, a collective of anonymous 
video journalists (VJs). Peter Hiscocks, 
a longtime British journalist who 
trained many of the VJs by smuggling 
them into Thailand before the revolt, 
answers questions after the screening. 
Co-sponsored by the Cleveland Coun¬ 
cil on World Affairs. Special admis¬ 
sion $10; CMA and CCWA members, 
seniors 65 & over, and students $8, or 
one CMA Film Series voucher. (Den¬ 
mark, 2008, subtitles, 84 min.) 



Blank City Friday, May 13, 7:00. Di¬ 
rected by Celine Danhier, with Jim 
Jarmusch, John Waters, Debbie Harry, 
et al. Downtown NYC luminaries con¬ 
struct an oral history of the “No Wave 
Cinema” movement that took root in 
depressed, rat-infested lower Manhat¬ 
tan during the late 1970s and early 
1980s. Contains film clips from rare 
8mm and 16mm movies of the era, as 
well as music by Patti Smith, Richard 
Hell, Lydia Lunch, Sonic Youth, et al. 
“Steeped in exhilarating alienation and 
mordant wit.” -The Guardian. Cleve¬ 
land premiere. (USA, 2010, 94 min.) 

Hey, Boo: Harper Lee and “To Kill a 
Mockingbird” Friday, May 20, 7:00. 
Directed by Mary Murphy, with Oprah 
Winfrey et al. This new documentary, 
commemorating the 50th anniversary 
of the publication of Harper Lee’s To 


Kill a Mockingbird, explores the con¬ 
nections between the novel’s story 
and the reclusive author’s life. Cleve¬ 
land premiere. (USA, 2011, 78 min.) 

Waiting for Godot Wednesday, May 
25, 7:00. Directed by Alan Schneider, 
with Zero Mostel, Burgess Meredith, 
Kurt Kaszner, and Milo O’Shea. Two 
derelicts wait for the mysterious 
“Godot” to make an appearance in 
this early television version of Samuel 
Beckett’s absurdist masterpiece. Re¬ 
stored by the UCLA Film & Television 
Archive. Complements the museum’s 
new production of Beckett’s Endgame 
at the Cleveland Play House. (USA, 
1961,102 min.) 

Double-Stop Friday, May 27, 7:00. Di¬ 
rected by Gerald Sindell. This recently 
restored 1968 film, made by ex-Shaker 
Heights brothers Gerald and Roger 



16 


May/June 2011 













PAINTED POETRY ON FILM 


? ^ * 


Spring, Summer, 
Fall, Winter... 
and Spring A 

monk and his 
apprentice 



Three recent South Korean films com¬ 
plement our current special exhibition 
The Lure of Painted Poetry. All show in 
the Morley Lecture Hall. Each film $9; 
CMA members, seniors 65 & over, and 
students $7; or one CMA Film Series 
voucher. 

Spring, Summer, Fall, Winter... and 
Spring Wednesday, June 8, 6:30. 
Directed by Kim Ki-duk. A Buddhist 
monk and his apprentice pass through 
the seasons of the year, and the sea¬ 
sons of life, in a floating monastery on 
a beautiful forest lake. (South Korea, 
2003, subtitles, 103 min.) 

Chunhyang Wednesday, June 22, 

6:30. Directed by Im Kwon-taek. A 
pansori performance of traditional 
Korean music comes to life in this 
splendid tale of star-crossed 17th- 
century lovers, based on a Korean 
legend. (South Korea, 2000, subtitles, 
121 min.) 


Chihwaseon (Painted Fire) Wednes¬ 
day, June 29, 6:30. Directed by Im 
Kwon-taek. Celebrated 19th-century 
Korean painter Jang Seung-up (a.k.a. 


Owon) tries to find his own voice amid 
the political upheavals of a country 
caught between the cultures of China 
and Japan. (South Korea, 2002, sub¬ 
titles, 120 min.) 


Clockwise from 
left: Burma VJ, 
Vision: From the 
Life of Hildegard 
von Bingen, Putty 
FI ill, and Hey Boo: 
Harper Lee and “To 
Kill a Mockingbird " 


Sindell, was shot in Cleveland and 
University Circle by a Hollywood crew. 
It tells of two privileged white parents, 
a cellist and his artist wife, who have 
a falling-out over whether to bus their 
young son to an integrated inner-city 
school. (USA, 1968, 76 min.) 

Rooster Cogburn Wednesday, June 1, 
6:45. Directed by Stuart Millar. In this 
sequel to the original True Grit, John 
Wayne reprises his Oscar-winning role 
and teams up with Katharine Hepburn 
for the first and only time. Part of the 
“Movie Date with Kate” series that 
complements the Kent State University 
Museum exhibition Katharine Hepburn: 
Dressed for Stage and Screen. KSU’s 
Jim Harris introduces the screening. 
KSU students & staff (with I.D.) and 
KSU alums and Friends of Fashion $7. 
(USA, 1975,107 min.) 


SNEAK 

PREVIEWS 

Watch trailers 
for select films at 
ClevelandArt.org/ 
film. 


A Small Act Friday, June 3, 6:30. Di¬ 
rected by Jennifer Arnold. A Harvard- 
educated civil-rights lawyer, who as 
a poor child growing up in Kenya was 
able to stay in school due to a mod¬ 
est gift by a woman in Sweden, seeks 
out his benefactor. “The film couldn’t 
be more heartening” -The New York 



Times. Co-sponsored by the Cleveland 
Council on World Affairs. CCWA mem¬ 
bers $7. (USA, 2010, 88 min.) 

Vision: From the Life of Hildegard von 
Bingen Friday, June 10, 6:45. Directed 
by Margarethe von Trotta, with Barbara 
Sukowa. This popular film dramatizes 
the life of the 12th-century Benedictine 
nun, composer, mystic, writer, scientist, 
philosopher, and early feminist. (Ger¬ 
many/France, 2009, subtitles, 111 min.) 

Summer Wars Wednesday, June 15, 
6:45. Directed by Mamoru Hosoda. In 
this dazzling anime that blends hi-tech 
with heart, a high school math prodigy 
accidentally hacks into a parallel virtu¬ 
al world. From the director of The Girl 
Who Leapt Through Time. “A sophis¬ 
ticated yet poignant family entertain¬ 


ment with an appeal beyond Japanese 
animation buffs” -The Los Angeles 
Times. Cleveland theatrical premiere. 
(Japan, 2009, subtitles, 114 min.) 

Making the Boys Friday, June 17, 7:00. 
Directed by Crayton Robey, with Ed¬ 
ward Albee, William Friedkin, Tony 
Kushner, and Dan Savage. Mart Crow¬ 
ley’s groundbreaking play The Boys in 
the Band\Nas applauded for bringing 
gay culture to a mainstream audience, 
and condemned for reinforcing homo¬ 
sexual stereotypes. This new film takes 
a fresh look at the creation, history, and 
legacy of this cultural milestone. Cleve¬ 
land premiere. (USA, 2009, 90 min.) 

Putty Hill Friday, June 24, 7:00. Di¬ 
rected by Matthew Porterfield. Friends 
and family search for meaning after a 
drug-overdose death in the working- 
class, suburban Baltimore neighbor¬ 
hood of the film’s title. This seamless 
blend of documentary and fiction is 
one of the most acclaimed Amerindie 
films of the past year. Cleveland pre¬ 
miere. (USA, 2010, 87 min.) 



17 www.ClevelandArt.org 










PAINTED POETRY PROGRAMS 




Linking Poems and Images: Basho 
and Communal Arts in East Asia 

Sunday, May 15, 2:00. Ann Sherif of 
Oberlin College considers the social 
nature of artistic creativity and poetry 
composition in Japan, in relation to 
the exhibition’s theme of Japanese 
and Korean interpretation of Chinese 
culture. 

Tales Well Told: Japanese Narrative 
Tradition Wednesday, May 18, 6:30. 
Joellen DeOreo, Associate Director of 
Adult Programs 

Poems in Pattern: Painting and Lit¬ 
erary Legacies Wednesday, June 1, 
6:30. Marjorie Williams, Senior Direc¬ 
tor of Endowment Development 

Elegant Gatherings: Scholar Poet 
Painters Wednesday, June 15, 6:30. 
Joellen DeOreo 


Suspended Beauty: Japanese Lac¬ 
quer and Literary Legacies Wednes¬ 
day, July 13, 6:30. Marjorie Williams 

Gallery Talks in the Exhibition Sun¬ 
day, May 8,1:30 and Friday, July 29, 
6:30, Marjorie Williams; Wednesday, 
May 18,1:30, Joellen DeOreo 

Papermaking Demonstration Fri¬ 
day, May 13, 6:00-8:00. Aimee Lee, 
independent artist and researcher, 
demonstrates the Japanese style 
of papermaking, which has roots in 
Korea. In 2010, she was an artist-in¬ 
residence at the Morgan Conservatory 
in Cleveland, where she and director 
Tom Balbo led a team in building the 
first Korean papermaking studio in 
the U.S. 


Art Cart The first Sunday afternoon 
of every month the museum offers an 
Art Cart experience in the galleries. 
Staffed by the Art to Go team, Art 
Cart allows patrons to touch genuine 
works of art in an informal, intergen- 
erational, and self-directed format. 
Check the calendar for details on top¬ 
ics and specific times. Art Cart experi¬ 
ences can be organized for groups, 
for a fee. Contact Karen Levinsky, Art 
to Go administrator, for details: 216- 
707-2467. The Lure of Painted Poetry. 
Touch Japanese and Korean objects 
specially chosen to supplement the 
exhibition, including several related to 
the art of calligraphy and to literature, 
links that helped spread Chinese ideas 
to other cultures. 

Glimpses of Asia Family Day Sunday, 
July 17,1:00-4:00. Free art activities 
and performances. 


LECTURES 


White Ebony 

2008. Lyle Ashton 
Harris (American, 
born 1965). Oil on 
Ghanaian funerary 
fabric; 72 x 44 in. 

© CRG Gallery, 
New York 



Kali 1800s. India, 
Calcutta. Black ink, 
color and silver 
paint on paper; 

45.9 x 28 cm. Gift of 
William E. Ward in 
memory of his wife, 
Evelyn Svec Ward 
2003.110.a 


Ghana and Cosmopolitanism Sat¬ 
urday, May 7, 3:00. Internationally 
renowned artist Lyle Ashton Harris, 
who splits his time between New York 
and Ghana, is an assistant professor of 
art at New York University and direc¬ 
tor of the Dei Centre for the Study of 
Contemporary African Art in Accra. He 
discusses his current work which oc¬ 
cupies the cultural space at the conflu¬ 
ence of contemporary globalization, 
modernity, and a rich cultural tradi¬ 
tion in Ghana. Co-sponsored by the 
Contemporary Art Society, Friends of 
Photography, and Friends for African 
and African-American Art. 


18 May/June 2011 


Indian Kalighat Paintings: A Sub¬ 
altern Voice Against the Decadence 
of Globalization Sunday, May 22, 

2:00. Deepak Sarma, Associate 
Professor of Religious Studies, Phi¬ 
losophy, Classics, and Bioethics, Case 
Western Reserve University. Picture 
19th-century Calcutta—a dynamic 
and vibrant cosmopolitan city, the 
political capital of British India and the 
financial hub for trade between India, 
East Asia, and Europe, a center for 
religious pilgrimage, and a focal point 
of new movements and ideas, politi¬ 
cal, artistic, and cultural. The upwardly 
mobile Bengalis, made wealthy by the 
East India Company, embracing Brit¬ 
ish and European sensibilities, mores, 
decadence, and vices, were swept by 
a tidal wave of globalization. In the 
process, the innovative Kalighat paint¬ 
ers, transforming folk art into a popu¬ 
lar genre, offered scathing portrayals 
of the changes that they observed in 
19th-century colonial Bengal. Sarma 
presents the Kalighat artists as in¬ 
novative social commentators whose 
paintings reflected, critiqued, and 
complemented globalization and its 
discontents. 


Community and Culture in New Eng¬ 
land Parades 1840-1940 Wednesday, 
June 8, 7:00-8:00, Jane C. Nylander, 
president emerita of Historic New Eng¬ 
land and former director of Strawberry 
Banke Museum in Portsmouth, New 
Hampshire, discusses her new research 
on parades as an aspect of community 
expression. Exploring how floats, cos¬ 
tumes, and music combine as “pieces 
of folk pageantry” or elaborate promo¬ 
tions of local pride, Nylander investi¬ 
gates the traditions that contextualize 
our own Parade the Circle. 












IN THE GALLERIES 



Writing Box (Suzuribako) with Spitting Courtesan c. 1800 
Japan, Edo period (1615-1868). Lacquer on wood with decoration 
in maki-e (gold dust); 25.5 x 21 cm (closed). Worcester R. Warner 
Collection 1963.260 


FREE SYMPOSIUM 


Syria: History and Culture Sunday, 
May 29, 2:00-4:30, Gartner Audito¬ 
rium. Sponsored by the Syrian Amer¬ 
ican Cultural Council; co-sponsored 
by the Cleveland Museum of Art and 
Cleveland Council on World Affairs. 

Syria , Cradle of Civilization Prof. Amr 
Al-Azm, Shawnee State University 

Architecture in Syria , Index of 
Mediterranean Culture Prof. Nasser 
Rabat, Massachusetts Institute of 
Technology 

Music: Kinan Azmeh International 
clarinetist and band 

Syria: The Land of Religious Toler¬ 
ance. Prof. Abdul-Karim Rafeq, 
College of William and Mary 

Syria: The Modern Cultural and Social 
Scene Prof. Leila Hudson, University 
of Tucson 

Movie: The Holy Crystal, by Nabil 
Maleh (25 min.) 

Presented as part of Syrian Cultural 
Garden dedication day events. 


Highlights Tours Tuesdays, Fridays, 
Saturdays, and Sundays at 1:30 plus 
Saturdays at 2:30. Tours of the reno¬ 
vated 1916 building and the new east 
wing. See web site for title and docent 
name. Meet in the east wing on level 1 
near the portholes. 

Art in Focus Talks Wednesdays at 
1:30. Meet in the east wing on level 1 
near the portholes. Gallery talks on 
a single work of art or theme. Check 
ClevelandArt.org for topics and do¬ 
cent names. 

Exhibition Tours Lure of Painted Po¬ 
etry Thursdays 1:30 and Sundays 2:30. 
Key Bank Lobby. 


TEXTILE ART ALLIANCE EVENTS 


Annual Luncheon Wednesday, May 11, 
11:00, Executive Caterers, Landerhaven, 
6111 Landerhaven Drive, Mayfield 
Heights 44124. Come join us for our 
annual luncheon and silent auction. 
Featured speaker: David Franklin, new¬ 
ly appointed director of the Cleveland 
Museum of Art. Reservation required. 
Fee. For reservation information con¬ 
tact Meghan Olis at 216-707-2579 or 
molis@clevelandart.org. 

Play Day: Beginning Dyeing Wednes¬ 
day, May 25,10:00-2:00, private studio 
in Akron. Want an opportunity to just 
“try dyeing”? The Play Day offered by 
Polly Gilmore and Karen Hinkle will 
allow you to do just that. No need 
to gather materials, buy dye, or put 
together a lot of “stuff” just to give 
dyeing a try. All materials necessary 
to experience fun with an adapted 
method of shibori dyeing and putting a 
twist on fabric marbling are provided. 
Take home at least two completed 
pieces of fabric which you can then 
use for creating incredible fiber art. 
Dress for mess! Bring a lunch. $35, 

TAA members $25. Questions: Jennifer 
Liston Dykema at 216-751-3820 or 
jaeeld@sbcglobal.net. 


The Art of Daily Life Wednesday, May 
11, 6:30. Gallery talk by curator 
Constantine Petridis. 

Art Conversations Audio Tour The 

new permanent collection audio tour 
highlights some of the most captivat¬ 
ing works of art in the newly opened 
ancient, medieval, and African art gal¬ 
leries. Visitors with smart phones can 
access the tour through a new mobile 
link (see signs at the museum). Visi¬ 
tors who do not have smart phones 
can check out an iPod Touch player at 
the ticket counter in the main lobby, 
free of charge, or for a fee of $2 if they 
decide to purchase ear buds. 

Art Odyssey Everyday museum vis¬ 
its to the galleries can be a journey 
through time to different cultures. 

Pick up our self-guided family activity 
packet anytime in the museum 
lobbies. 


Workshop: Combining Textiles with 
Metal Thursday and Friday, June 2-3, 
10:00-4:00, CMA Classroom A. Interior 
designer, educator, and fiber artist 
Mary Platis Kapenekas leads partici¬ 
pants in a two-day workshop to ex¬ 
plore the use of metals in combination 
with textiles. The first session intro¬ 
duces various metals, materials, paints, 
stitchery, folding, and embellishing 
techniques. Participants experiment 
with ornamentation and preparation of 
the metal for integration with fiber. The 
second day focuses on the design and 
construction of an art piece that com¬ 
bines the prepared metals from the 
first session to produce a textile/metal 
wall or three-dimensional art form. 

All skill levels welcome. $240, TAA 
members $180 ($150 by May 2). For 
information contact Carole Richburg 
Brown at 216-321-2805 or Ovango@ 
sbcglobal.net. 


19 www.ClevelandArt.org 










INGALLS LIBRARY 


The Art Study Group Looks at Egypt 

Wednesday, May 4, Ingalls Library and 
museum galleries, 7:00-8:30. Tour the 
recently installed Egyptian galleries 
followed by a visit to the Ingalls Li¬ 
brary to view a selection of rare mate¬ 
rials related to Egypt and Egyptology. 

Wednesday, May 25, Cleveland 
Heights-University Heights Public 
Library, 7:00-8:30. Round out the 
Spring Art Study Group program by 
discussing Cleopatra: A Life , by Stacy 
Schiff. This vibrant biography of one 
of history’s most fascinating people 
won multiple accolades in 2010. 

Enrich your experience and expand 
your knowledge of the Cleveland Mu¬ 
seum of Art’s Egyptian collection with 
the Art Study Group. Limit 20; pre¬ 
registration required. Free. Call 216- 
932-3600 or visit the Heights Library 
web site to register. 


FOR TEACHERS 


Using Art as a Prompt for Developing 
Writing and Language Skills Tuesday, 
June 21 and Wednesday, June 22, 9:30- 
5:00. Participants examine paintings 
and other objects from the museum 
collection to develop descriptive and 
comparison/contrast paragraphs as 
well as a five-paragraph essay. Focus¬ 
ing on American art and using art ter¬ 
minology, teachers are guided through 
the process of writing about master- 
works in order to build these skills with 
their middle and high school students. 
Though grades 5-12 are targeted in the 
workshop, these integrated and excit¬ 
ing lessons are appropriate for a wide 
range of student ability and skill lev¬ 
els—from remedial to advanced writ¬ 
ers. In addition to touring the galleries, 
participants visit the distance learning 
studio and the museum’s renowned 
Ingalls Library. Tuition includes plenti¬ 
ful materials and resources including 
Diana Hanbury King’s Writing Skills 
Teachers’ Handbook and digital im¬ 
ages of CMA masterworks to use with 
students. Graduate credit through Ash¬ 
land University is available for an extra 
fee. Presenters: Dale Hilton, M.A., CMA 
director of teacher and school and 


Cleveland Collectors: Elisabeth 
Severance Allen Prentiss Thursday, 
May 19, 2:00-3:30. Elisabeth Sever¬ 
ance Allen Prentiss was a generous 
benefactor to many Cleveland institu¬ 
tions including the museum, Oberlin 
College, St. Luke’s Hospital, and Case 
Western Reserve University. She lived 
graciously at her Mayfield Road estate, 
Glen Allen, in Cleveland Heights, col¬ 
lecting paintings, prints, sculpture, and 
Korean and Chinese ceramics which 
she bequeathed to the museum. Limit 
20; pre-registration required. $20, 

CMA members free. 

Ongoing Book Sale continues in May 
with a new selection of sale books 
located on the shelves opposite the 
library’s recent acquisitions. Deeper 
discounts each week. No book sale 
June-August; resumes in September. 

Library Program Tickets available 
through the museum box office. For 
specific questions regarding library 
programs, please call the reference 
deskat 216-707-2530. 


distance learning programs, and Karen 
Dakin, M.Ed., reading and literacy con¬ 
sultant, co-author of Basic Facts About 
Dyslexia and Other Reading Problems. 
Questions? Contact Dale Hilton at 216- 
707-2491 or dhilton@clevelandart.org. 
Limit 25. $225. 

Early Childhood Educator Summer 
Institute Wednesday, June 22 and 
Thursday, June 23. Over two days, 
early childhood educators are invited 
to explore two of art’s fundamental 
elements—line and shape—and dis¬ 
cover different methods of incorpo¬ 
rating these themes into a variety of 
curricular areas. Sessions are taught 
by educators from the Cleveland Mu¬ 
seum of Art, other local educators, 
and professional artists. $65 per day 
includes lunch, parking, materials, and 
a certificate of attendance. Registra¬ 
tion is required. Register with the box 
office by phone at 216-421-7350. For 
more information contact Liz Wilcox 
at 216-707-2181. 

The Early Childhood Educator Summer Institute 
is part of the StART SmART program and is 
supported through a grant from PNC “Grow Up 
Great.” 


ART AND FICTION BOOK CLUB 


The Swan Thieves by Elizabeth 
Kostova 3 Wednesdays, May 4,11, 
and 18,1:30. “A haunting novel of art 
and obsession; a mystery spanning 
continents and centuries; a love story 
that crosses the ultimate border.” A 
psychological thriller by the author of 
The Historian, a New York Times best¬ 
seller, The Swan Thieves begins with 
the renowned painter Robert Oliver 
attacking a painting in the National 
Gallery of Art and ends in his hospital 
room where he says, “I did it for her.” 
The Art and Fiction Book Club offers a 
structured look at art history through 
both historical fiction and narrative 
nonfiction. $45, CMA members $35. 
Register through the box office, 216- 
421-7350. A collaboration between 
the Ingalls Library and the education 
department. 


Art to Go Let your class see and 
touch amazing works of art up to 
4,000 years old as museum staff and 
trained volunteers come to you with 
objects from the education collection. 
Interactive presentations encourage 
observation, creative thinking, deci¬ 
sion making, problem solving, and 
teamwork. Lessons connect to school 
curricula and state standards. Topics 
and registration information are at 
ClevelandArt.org. Presentations are 
40 to 50 minutes long and scheduled 
Monday through Thursday, 9:00-2:30. 
Preschool presentations are available 
on Fridays. Adult and other groups, 
please inquire. To schedule, contact 
abarfoot@clevelandart.org or call 216- 
707-2459. Contact Karen Levinsky for 
more information at 216-707-2467. 


20 May/June 2011 






WHAT TO EXPECT 


The Wall Is Down! The temporary 
three-story wall that was erected 
in the east wing outside the special 
exhibition gallery has been disman¬ 
tled, and access to the escalators 
restored. 

The South Doors Are Open! Enjoy 
the gracious welcome afforded those 
who walk up the south steps and 
enter into the elegant space of the 
1916 building rotunda. 

The Museum Is Still Under Construc¬ 
tion! This summer, visitors will see 
the outer shell of the new west wing 
taking shape, and by the early fall 
the portion of the museum staff who 
have been working in office space 
downtown will be ensconced in 
brand-new offices at the museum. 



Open Now: Ancient Art, African Art, 
Medieval European Art, European 
and American Art from 1600 to the 
Present Day The permanent collection 
galleries of the east wing (19th- 
century European art, Impressionism, 
modernism, and contemporary art, 
plus photography) are open, and the 
main floor of the 1916 building is open 
with European and American art from 


the 1600s into the 19th century. In 
1916 level 1: ancient Near East, Greek, 
Roman, sub-Saharan African, Egyptian, 
and medieval art. The new prints and 
drawings galleries feature works from 
the museum’s world-class manuscripts 
collection. 


MEMBERS TRIPS 


NEW AT CLEVELANDART.ORG 


Read It Online! 

Cleveland Art is 
available online at 
www.cleveland- 
art.org/support/ 
Members-Only.aspx. 
Conserve paper, 
reduce costs, and 
access your issues 
anytime by signing 
up to receive your 
magazine elec¬ 
tronically in Adobe 
Acrobat pdf format. 
To sign up, e-mail 
membership@ 
clevelandart.org. 
Please recycle your 
printed magazine 
if you don’t keep it 
forever. 


Public Art around Cleveland Friday, 
May 20, 3:00-5:30. Due to popular 
demand—second date added! Friday, 
June 3, 3:00-5:30. Enjoy a trolley tour 
of public art around Cleveland led by 
staff from Cleveland Public Art. Price 
includes transportation and guided 
tour. Trolley will pick up and drop off 
members at the museum. CMA mem¬ 
bers $30, nonmember guests $40. 

Cleopatra in Cincinnati Friday, July 
15-Saturday July 16. Members will 
head to the Queen City for an over¬ 
night trip to visit the much-touted 
exhibition Cleopatra: The Search for 
the Last Queen of Egypt. The exhibi¬ 
tion features nearly 150 artifacts from 
Cleopatra’s time, including statuary, 
jewelry, daily items, coins, and reli¬ 
gious tokens, all of which are visiting 
the U.S. for the first time. Members 
will also enjoy a tour of the exhibition 
Keith Haring 1978-82 at the Con¬ 
temporary Arts Center and visit the 
expanded Taft Museum of Art and its 
special exhibition In Company with An¬ 
gels: Seven Rediscovered Tiffany Win¬ 
dows. Price includes transportation to 
and from Cincinnati, hotel, meals, and 
museum admissions and tours. 


New England in Autumn: Boston and 
Salem Wednesday, October 19-Sunday, 
October 23. Join us for an art getaway 
this autumn to Boston and Salem, 
Massachusetts. Highlights include 
visiting the exhibition Degas and the 
Nude as well as the new Art of the 
Americas wing at the Museum of Fine 
Arts, Boston; tours at the Institute of 
Contemporary Art, Boston and the 
Isabella Stewart Gardner Museum; 
and a day trip to Salem to view the 
exhibition Painting the American Vi¬ 
sion, a breathtaking show of American 
landscapes by Hudson River School 
artists, at the Peabody Essex Museum. 
Price includes transportation around 
Boston, most meals, and all tour and 
admission fees. Transportation and 
transfer costs to and from Boston, ho¬ 
tel accommodations, and some meals 
are not included. 

To request an itinerary (subject to 
change) and cost information, or to 
make a reservation, please contact 
Allison Tillinger Schmid at aschmid@ 
clevelandart.org or 330-707-2669. 


Art classes now all in one place 

www.clevelandart.org/classes 

Prints curator Jane Glaubinger cele¬ 
brates the work of Elizabeth Catlett in 

honor of Women’s History Month 

www.clevelandart.org/collections/ 

perspectives 

Japanese and Korean Art associate 
curator reviews a lacquer box from our 
collection www.clevelandart.org/ 
collections/perspectives 

Wedding Picture Project picture ar¬ 
chives www.clevelandart.org/wedding 


21 www.ClevelandArt.org 















1 SUN 10-5 

MON closed 

TUE 10-5 

WED 10-9 

THU 10-5 

FRI 10-9 

SAT 10-5 S 

1 

2 

3 

4 

5 

6 

7 


Members Registration Museum closed 

Highlights Tour 1:30 

Book Club Begins 

Exhibition Tour 1:30 

Highlights Tour 1:30 

Highlights Tours 1:30 

Begins My Very First 

ArT r/prr 

Nia Coffee House 

1:30 R$ 

Painted Poetry 

Basic Parade Work¬ 

and 2:30 

/\t i v^/C7oO 

6:00-8:30 Coventry 

Talk 1:30 Art in Focus 


shop 6:00-9:00 P 

Basic Parade Work¬ 

Preconcert Talk 12:30 

f' (Griffith M^nn 

Village Library 

Film 5:30 The Girl with 


Preconcert Talk 6:00 

shop 1:30-4:30 P 

^. Of II IIll 1 rid 1111 


the Dragon Tattoo (Mil¬ 


Jon Seydl and James 

Lecture 3:00 Ghana 

Art Cart 1:00-3:00 


lennium Trilogy mini¬ 


Feddeck 

and Cosmopolitanism, 

Painted Poetry 


series parts 1 & 2) $ 


Film 6:30 Burma VJ$ 

Lyle Ashton Harris 

Highlights Tour 1:30 


Preconcert Talk 6:00 


VIVA! & Gala Perfor¬ 


Film 1:30 The Girl with 


David Franklin 


mance 7:30 Italian 


the Dragon Tattoo (Mil¬ 


Library Program 7:00 


Masterworks $ 


lennium Trilogy mini¬ 


Art Study Group R 




series parts 1 &2)$ 


VIVA! & Gala Perfor¬ 




VIVA! & Gala Perfor¬ 


mance 7:30 Italian 




mance 2:00 Italian 


Masterworks $ 




Masterworks $ 






Exhibition Tour 2:30 






Painted Poetry 







8 

9 

10 

11 

12 

13 

14 

Highlights Tour 1:30 

Basic Parade Work¬ 
shop 1:30-4:30 P 

Exhibition Tour 2:30 
Painted Poetry 

Museum closed 

Highlights Tour 1:30 

Talk 1:30 Art in Focus 

Film 5:30 The Girl Who 
Played with Fire (Mil¬ 
lennium Trilogy mini¬ 
series parts 3 &4)$ 

Gallery Talk 6:30 The 
Art of Daily Life, Con¬ 
stantine Petridis 

Exhibition Tour 1:30 
Painted Poetry 

Highlights Tour 1:30 

Basic Parade Work¬ 
shop 6:00-9:00 P 

Film 7:00 Blank City$ 

Highlights Tours 1:30 
and 2:30 

Basic Parade Work¬ 
shop 1:30-4:30 P 

Parade Stilt Week¬ 
end 1:30-4:30 (order 
stilts) P 



Parade Stilt Week¬ 
end 1:30-4:30 (order 
stilts) P 


Lecture 2:00 Basho in 
East Asia, Ann Sherif 


Exhibition Tour 2:30 
Painted Poetry 


Basic Parade Work¬ 
shop 1:30-4:30 P 


Special Parade Work¬ 
shop 1:30-4:30 Stilt¬ 
dancing (advanced) P 


Lecture 2:00 Indian 
Kalighat Paintings, 
Deepak Sarna 


Exhibition Tour 2:30 
Painted Poetry 


Registration Begins My 

Very First Art Class R$ 

Highlights Tour 1:30 

Basic Parade Work¬ 
shop 1:30-4:30 P 


24 

Highlights Tour 1:30 


Museum cl 


Highlights Tour 1:30 

Nia Coffee House 

6:00-8:30 Coventry 
Village Library 


22 

Highlights Tour 1:30 


29 30 31 

Highlights Tour 1:30 Museum closed Highlights Tour 1:30 

Basic Parade Work¬ 
shop 1:30-4:30 P 

Special Parade Work¬ 
shop 1:30-4:30 Stilt¬ 
dancing (advanced) P 

Symposium 2:00-4:30 
Syria: History and 
Culture 

Exhibition Tour 2:30 
Painted Poetry 


18 

Talk 1:30 Art in Focus 

Film 5:30 The Girl Who 
Kicked the Hornet’s 
Nest (Millennium Tril¬ 
ogy miniseries parts 5 
& 6 ) $ 

Lecture 6:30 Tales 
Well Told 

Performance 7:30 
Michelle DeYoung & 
Kevin Murphy $ 


19 

Exhibition Tour 1:30 
Painted Poetry 

Library Program 2:00 
Cleveland Collectors R$ 

VIVA! & Gala Perfor¬ 
mance 7:30 Cleveland 
Play House Endgame $ 


20 

Highlights Tour 1:30 

Members Tour 3:00 
Public Art R$ 

Basic Parade Work¬ 
shop 6:00-9:00 P 

Film 7:00 Hey, Boo: 
Harper Lee and “To Kill 
a Mockingbird" $ 

VIVA! & Gala Perfor¬ 
mance 7:30 Cleveland 
Play House Endgame $ 


21 

Workshop 10:00-4:00 
Ikebana R$ 

Highlights Tours 1:30 
and 2:30 

Basic Parade Work¬ 
shop 1:30-4:30 P 

Special Parade Work¬ 
shop 1:30-4:30 Stilt- 
dancing (novice) P 

VIVA! & Gala Perfor¬ 
mance 7:30 Cleveland 
Play House Endgame $ 


25 26 27 


28 


Talk 1:30 Art in Focus 

Film 7:00 Waiting for 
Godot ( 1961)$ 


Exhibition Tour 1:30 
Painted Poetry 

VIVA! & Gala Perfor¬ 
mance 7:30 Cleveland 
Play House Endgame $ 


Highlights Tour 1:30 

Basic Parade Work¬ 
shop 6:00-9:00 P 

Film 7:00 Double- 
Stop $ 

VIVA! & Gala Perfor¬ 
mance 7:30 Cleveland 
Play House Endgame $ 



Highlights Tours 1:30 
and 2:30 

Basic Parade Work¬ 
shop 1:30-4:30 P 

Special Parade Work¬ 
shop 1:30-4:30 Stilt¬ 
dancing (novice) P 

VIVA! & Gala Perfor¬ 
mance 7:30 Cleveland 
Play House Endgame $ 


ONLINE 

CALENDAR 

Sortable online 
calendar at 
ClevelandArt.org/ 
calendar 

















Highlights Tour 1:30 

Members Tour 3:00 
Public Art R$ 

Basic Parade Work¬ 
shop 6:00-9:00 P 

Film 6:30 A Small 
Act$ 

VIVA! & Gala Perfor¬ 
mance 7:30 Cleveland 
Play House Endgame $ 


Highlights Tours 1:30 
and 2:30 

Basic Parade Work¬ 
shop 1:30-4:30 P 


Special Parade Work¬ 
shop 1:30-4:30 Stilt¬ 
dancing (novice) P 

VIVA! & Gala Perfor¬ 
mance 7:30 Cleveland 
Play House Endgame $ 


5 6 7 8 


9 


10 11 


Art Cart 1:00-3:00 Museum closed 

Painted Poetry 

Highlights Tour 1:30 

Basic Parade Work¬ 
shop 1:30-4:30 P 

Special Parade Work¬ 
shop 1:30-4:30 Stilt¬ 
dancing (advanced)P 

Exhibition Tour 2:30 
Painted Poetry 


Highlights Tour 1:30 

Nia Coffee House 

6:00-8:30 Coventry 
Village Library 


Talk 1:30 Art in Focus 

Film 6:30 Spring, Sum¬ 
mer, Fall, Winter...and 
Spring $ 

Lecture 7:00 Com¬ 
munity and Culture in 
New England Parades 
1840-1940, Jane C. 
Nylander 


Exhibition Tour 1:30 
Painted Poetry 

VIVA! & Gala Perfor¬ 
mance 7:30 Cleveland 
Play House Endgame $ 


Highlights Tours 1:30 

Film 6:45 Vision: From 
the Life of Hiidegard 
von Bingen $ 

VIVA! & Gala Perfor¬ 
mance 7:30 Cleveland 
Play House Endgame $ 


Parade the Circle 

11:00-4:00 Parade at 
noon, fun all day 

Highlights Tours 1:30 
and 2:30 

VIVA! & Gala Perfor¬ 
mance 7:30 Cleveland 
Play House Endgame $ 


12 

Highlights Tour 1:30 

Exhibition Tour 2:30 
Painted Poetry 


13 

Circle Sampler Camp 
Begins Session 1, 
grades 1-3 R$ 

Museum closed 


14 

Highlights Tour 1:30 


15 

16 

17 

18 

Adult Studios Begin 

Exhibition Tour 1:30 

Adult Studios Begin 

Highlights Tours 1:30 

10:00-12:30 Draw¬ 
ing in the Galleries ; 
12:30-3:00 Introduction 
to Drawing; 6:00-8:30 
Drawing in the Galler¬ 
ies R$ 

Talk 1:30 Art in Focus 

Painted Poetry 

10:00-12:30 Composi¬ 
tion in Oil ; 6:00-8:30 
Composition in Oil R$ 

Highlights Tour 1:30 

Film 7:00 Making the 
Boys$ 

and 2:30 


Lecture 6:30 Elegant 
Gatherings 

Film 6:45 Summer 
Wars$ 


19 

20 

21 

22 

23 

24 

25 

Highlights Tour 1:30 

Circle Sampler Camp 

TRC Writing Work- 

TRC Writing Work- 

Early Childhood 

Highlights Tour 1:30 

Highlights Tour 1:30 

Exhibition Tour 2:30 

Begins Session 2, 

shop Day 1 

shop Day 2 

Educator Summer 

Film 7:00 Putty Hill $ 

and 2:30 

Painted Poetry 

grades 1-3 R$ 

Museum closed 

Highlights Tour 1:30 

Nia Coffee House 

6:00-8:30 Coventry 
Village Library 

Early Childhood Edu¬ 
cator Summer Insti¬ 
tute Day 1 

Talk 1:30 Art in Focus 

Film 6:30 Chunhyang $ 

Institute Day 2 

Exhibition Tour 1:30 
Painted Poetry 

Solstice Party 6:00 
p.m.-2:00 a.m. R$ 


26 

Highlights Tour 1:30 

Exhibition Tour 2:30 
Painted Poetry 


27 

Circle Sampler Camp 
Begins Session 3, 
grades 1-3 R$ 

Museum closed 


28 

Kids’ Art Classes 
Begin 10:00-11:30 or 
1:00-2:30 R$ 

Highlights Tour 1:30 




Summer Wars June 15 




















Periodicals 
postage paid at 
Cleveland, Ohio 


l1Tl= THE CLEVELAND MUSEUM OF ART 

11150 East Boulevard 
University Circle 
Cleveland, Ohio 44106-1797 


Dated Material 
Do Not Delay 


www.ClevelandArt.org 

Museum Hours Administrative 

Tuesday, Thursday, Telephones 

Saturday, Sunday 216-421-7340 

10:00-5:00 1-877-262-4748 

Wednesday, Friday 
10:00-9:00 

Closed Monday 


Box Office 

216-421-7350 or 
1-888-CMA-0033 
Fax 216-707-6659 
Nonrefundable 
service fees apply for 
phone and internet 
orders. 


Facebook 

Cleveland Museum 
of Art 

Twitter 

@ClevelandArt 

Blog 

clevelandart. 

wordpress.com 


Membership 

216-707-2268 

membership@ 

clevelandart.org 

Museum Store 

216-707-2333 


Ingalls Library Hours 

Tuesday-Friday 
10:00-5:00; Wed. 
until 9:00 (through 
May 18; then until 
5:00 to September) 

Reference desk: 
216-707-2530 


Parking Garage 

$5 for 15 minutes to 
2.5 hours; 

$1 per 30 minutes 
thereafter to $10 
max. $5 after 5:00 



ART FROM 

LANDSCAPE SOUTHEAST 

PHOTOGRAPHS P. 4 AFRICA P. 6 




BECKETT’S 
ENDGAME P. 8 


MURALS 
P. 11 


PARADE THE 
CIRCLE 
P. 12 


CLEVELAND ORCHESTRA 
ITALIAN MASTERWORKS 
P. 14 



FILM 
P. 16